Noticias De La Comedia Anonima Llamada "El Tejedor De Segovia: Primera Parte"

pears even more unusual for him to have done so a second time in the same episode. As for Lope, once having made the comb a part of the queen's headgear , it would not come as a surprise if he were tempted to reproduce in connection with the comedia the flamboyant pair of metaphors to which he himself had given birth. In that case we may imagine that it contained, in addition to a scene depicting Semiramis ' departure from her vanity, another portraying her triumphant return to it pretty much as Calderón presents them to us. Finally, inasmuch as by its very nature a refundición involves a large segment of a composition, one may go as far as to conjecture that the refundidor must have extended his adaptation to material before and beyond the aforementioned episode, very likely including most if not all of what would be Act II of Lope's play. NOTES 1 Before Lope, Valerius Maximus and Virués refer to the dressing table episode but make no mention of the queen's comb. Boccaccio in De claris mulieribus does so, but he has her leave it behind. Prof. Edwards, who has thoroughly investigated the sources of La hija del aire, does not specify any version or versions that may have been utilized in the episode. The portraiture of Semiramis in the Jerusalén conquistada and La Dorotea is closely reproduced in Lope's Filomena and El hombre por su palabra. 2 There is scarcely any need to cite at this point Prof. Albert E. Sloman's brilliant study, The Dramatic Craftsmanship of Calderón. His Use of Earlier Plays. Oxford, 1958. 3 What originality the sonnet has is restricted to the use of the comb-hair figures. Otherwise Lope is heavily indebted to the famous Petrarch sonnet: "Passa la nave mia . . ." for the pattern of his octave and for the sextet to Cetina's "Anacreóntica" (Obras, I, Sevilla, 1895, 296, and to a poem by Paulus Silentarius in the Greek Anthology (Paton ed.). Vol. I, New York, 1916, 293-95. The same theme is picked up again in a sonnet in the Rimas humanas: "Sulca del mar de Amor las rubias ondas/ barco de Barcelona . . ." Colleción de las obras sueltas, XIX, Madrid, 1778, 15. See also my "Concerning the Poetry of Lope de Vega." Hispania, 15, 1932, 240-41, and "Giovani Battista Marino y el Conde de Villamediana" in Relaciones hispanoitalianas, Madrid, 1953, 155-57. The Substitution by Calderón of "bajel" for "barco" is, incidentally in line with his desire to "avoid words and expressions used by the source dramatist." See A.E. Sloman, op. cit., 298. &T*J^i NOTICIAS DE LA COMEDIA ANONIMA LLAMADA "EL TEJEDOR DE SEGOVIA: PRIMERA PARTE" Adriana Lewis Galanes, Temple University La edición más antigua que se ha hallado de esta comedia es una suelta, sin fecha, que el bibliógrafo alarconiano Walter Poesse conjetura como impresa por Francisco Sanz. La primera edición fechada que tenemos es de 1745, suelta, por Antonio Sanz en Madrid . Ambas ediciones se le atribuyen a Juan Ruiz de Alarcón, como "Primera Parte" de su auténtica comedia El tejedor de Segovia, inclusa ésta en la Parte Segunda de sus comedias en 1624. La noticia más temprana del nexo de las dos comedias nos llega a través de una refundición en holandés hecha en 1668 por Dirk P. Heynck, quien adelgaz ó los seis actos de las dos partes dentro del molde clásico de cinco actos, titulándola Don Louis de Vargas of edelmoedige wraek (Don Luis de Vargas o L· venganza generosa).1 La crítica se ha divido en la deluci93 dación del autor de esta llamada "Primera parte" entre los que se la atribuyen a Alarcón, los que se la atribuyen a otro dramaturgo del siglo XVII, y los que sencillamente indican que no es de Alarcón. Veamos algunos. Adolfo de Castro arguye que es de Ruiz de Alarcón, pero su motivación es una de usar tal atribución como trampolín para "probar" que el novohispano fue el Avellaneda del falso Quijote: estudia la semejanza...